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Movies is Magic

Sebastian Meissner continues his critically acclaimed Movies is Magic (released October, 2009) project with an extended version of the album, containing five of the original tracks, seeing vinyl for the first time, as well as five brand new and alternate versions exclusive to this release.

Retaining the qualities of the original, Meissner brings the project to new places with the vocal contributions of Ursula Maurer, Marta Collica and Hugo Race (of Nick Cave and the Bad Seeds fame), respectively.

Adding a bit of pop sensibility to densely reworked arrangements completes the trajectory, complementing the soundtrack by exhibiting Klimek variations of downtempo and house music - variations which manage to feel like looming cinematic excursions that are still tethered to the ground by percussion progressions and the complex qualities of the voices who collaborated.

Like an orchestra restructured in the digital domain, the remnants at the core of each piece lend themselves less to conservatory comparisons than filmic ones.

Ambiences reside inside, but are never left untouched or undeveloped, subverting expectations and leaving trails of themselves long after each song ends.

Large, picturesque settings produce emotionally compelling mini-narratives, while warm, open progressions balance with the multi-layered shadows that are expected from a Klimek album.

A careful percussive phrase, the occasional menacing horn, a tentatively sustained tone, or renching vocal murmur arrange these pieces between intersecting musical camps, while rustling backgrounds creep up to remind one where they stand.

The material is the product of a variety of allegiances and alliances: from soundtracks to the range of electro-acoustic and electronic sensibilities that produce such works as these, the multiples of moods and directions all further the frame of the project and the Klimek sound.

The vinyl package includes an essay, which was part of the original CD package and now arrives on one side of the inner 12“ sleeve.

The essay, album and track titles take direct inspiration from Slavoj Zizek, whose analysis of cinema was a strong beginning point for the project.